| | Berkeley Heights Heartbreak 101 CD Berkeley Heights Discography of CDs
Featuring brothers Chris and Cody Groom, Berkeley Heights is trying to be both a nod to the past and a look towards the future. By combining songwriting structures from synth pop, classic rock, alternative and new wave the band is hard to categorize. Take a shot of the Beach Boys, mix it with some New Order, then toss in equal parts Postal Service and the Everly Brothers and you come close. Regardless of instrumentation the band is concerned foremost with great songs. Catchy chord progressions, memorable hooks and tight arrangements are the bands mainstays. If you are afraid of pop music the band might not be for you but don't be surprised if you catch yourself humming along.Officially formed in 2007 after many nights of drunken musical banter, the project was an idea that had been gestating for the previous two years to no fruition. Finally, in August of 2007, the brothers decided to sit down and start demoing some songs to see if the idea would work. The song “Blind Eyes” was the result and immediately the brothers knew they were onto something. The song was instantly likable, catchy and fresh sounding. Even more promising, as far as the brothers were concerned, was the way their voices matched up perfectly for harmonies. Sufficiently encouraged, the pair decided to press on. Six months of late weekend sessions, countless pints at the local pub and 5 songs later, “Heartbreak 101”, the bands first EP, was finished. To say the two are proud of the record is an understatement. The brothers have even coined a term for the music, creating the phrase, “unapologetically pop”.Currently the duo is preparing to take the music to the people with a live show and print and internet marketing campaigns. The band is also in the process of putting together music videos for two songs from their new CD. In the future, they have plans for contributing to several compilation albums and are launching their own website. Berkeley Heights Heartbreak 101 Songs | 1. | Blind Eyes |
| 2. | My Apologies |
| 3. | Fourteen Days |
| 4. | Too Late |
| 5. | Heartbreak 101 |
| 6. | The Plot Unfolds |
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Heartbreak 101 Review
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Purchase Heartbreak 101 CD To buy, Click on price to add to cart | Adam Lambert For Your Entertainment CD (2009)
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With Adam Lambert, American Idol finally got a finalist who was completely, utterly contemporary, aware of what's hip in music and culture and aware of how music is made and consumed in 2009, never seeming to try to follow fads or set trends, just embodying the time. Mercifully, he came in second to Kris Allen, for if he came in first he may have had to tame his self-styled glamazon ways. A second place finish allowed Lambert to come out of the closet and indulge in his penchant for theater on his debut, For Your Entertainment -- which isn't quite the same thing as camp, for if Adam Lambert is anything, he's earnest about his dress-up, never winking at the audience because he doesn't think there's much funny about his glitter and mascara: that's just what pop stars are supposed to do. He's learned that by listening to his stacks of Queen and Bowie records, from watching old MTV videos on YouTube, from living in a present that always ...
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| | D F A 4th CD (2008)
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The "Canterbury" musical style is uniquely wedded to a time and place -- late-'60s to mid-'70s England for the most part -- and so groups from other times and places that may be influenced by the Canterbury sound are usually described in just that way: "Canterbury-influenced" rather than real Canterbury. Well, with the arrival of 4th by the Italian quartet D.F.A., maybe it's time to consider that real Canterbury music can be played anytime, anyplace. For this album nails the most adventurous aspects of the Canterbury sound -- particularly that of Canterbury supergroup Hatfield and the North circa 1975's The Rotters' Club -- so completely and expertly that it's nearly impossible to view the album as a mere tribute or knockoff. And not a ripoff, either -- 4th is too fabulous to describe with such a pejorative, even if, strictly speaking, the album falls just a tad short in the originality department. On the lengthy instrumentals here (and instrumentals dominate), keyboardist Alberto Bonomi, guitarist Silvio Minella, drummer Alberto De Grandis, and bassist Luca Baldassari unite in melodic statements that are knotty and angular enough to hold surprises for the listener while never sacrificing flow and momentum. The musicians plunge into intricate long-form compositions, such as the opening 14-plus-minute "Baltasaurus," that twist and turn and keep the changeups coming one after the other. With a solo burst here, a unison line there, counterpoint snippets, thematic reiterations, and dynamic advances and retreats, this is music to get lost in for anyone so inclined, and is also utterly absent aimless noodling or a lack of direction, thanks to so much of it being so thoroughly composed.
Bonomi alternately recalls Dave Stewart on the Fender Rhodes, Alan Gowen on synths, and -- to cite a more current reference -- the muscular yet nimble Hammond voicings of Tomohiro Ueno from Japan's Pochakaite Malko, while also interjecting some lovely, spacy Jimmy Hastings-style flute here and there. Meanwhile, Minella is clearly enamored of Phil Miller's sustained guitar tone, and drummer De Grandis (also principal composer throughout) and Baldassari form a powerful, tight yet fluid rhythm section. This music is not designed for the typical youthful listener of early-21st century post-grunge indie/alternative rock, and those constitutionally disinclined to "prog rock" would no doubt find something not to like here. Truth be told, one does wonder ...
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